Continuos Renaissance

I know perfectly that Renaissance is about art history from 15^th century to second half of 16^th century, and after the style of three principal arts has changed; but I want remark that the Renaissance, that is when man found herself is a very easy interpretation, this is trivial, because we can speak about the social class that has become important, differently from Middle age men were set to classes and Renaissance set men through method but now man is considered to his possibility and capacities, now this spirit of age is evident, now is manifest, and we can understand this opinion from threats that are written by artists. These social class is very humble and poor, Giotto and Arnolfo di Cambio and Nicola Pisano, painter and sculptors didn’t write a threat during Middle age, because certainly economic support wasn’t sufficient for this experience, but Cennino Cennini, Florentine painter at 14^th and 15^th wrote about 1390 and 1437 his threat about painting art. This is possible because painting has took importance, because economic support was very relevant because markets were very rich, and much families wanted their chapels, then painters were important, and now painter is relevant; but it is alone start this is the painter is important from glamour of families, but his social class is inferior and very modest; but during 16^th century, through Lives of Giorgio Vasari, we can understand how much artist has become important; in fact during a dinner in residence of cardinal Alessandro Farnese(1520-1589), Paolo Giovio(1483-1552) an Italian monsignor proposed idea for the Lives because, written Vasari: “While we speak about a thing and other, as we make thinking monsignor Giovio said that he wanted set among his Elogia, this is Virorum bellica virtute illustrium and Virorum literis illustrium… a threat that has told about artist men for drawing art from Cimabue until to our day…”. It is  very important step, because it is manifest interest to a social class become very important, because next to men of arms and men of literature, now artist are considered regardless of class, but alone for their capacities in art, and this is possible both because art is important and man is important, we must consider that no every men are now important because they are artist, but this desire of Paolo Giovio is indicative for a spirit and opinion that now rewards other qualities. If we consider that opinion we can think that who not were considered because member of social class very low, as artists, now is important; Raphael Sanzio(1483-1520) was buried in Pantheon and Michelangelo(1475-1564) now buried in Santa Croce, but he was buried in roman church of Saint Apostles in Rome, his body was kidnapped by Florentine team and it was brought to Florence to prestige of his importance would give to city, but Michelangelo was a people man, but his qualities were admired everywhere, then his importance was very important for glamour of city, but he was always an artist; then we can remark that individual qualities, as Roman empire, were important. A digression after hint to Roman empire; in ancient Rome neither race, origin or class, but everybody can become important because he has qualities, and during Roman empire this is important no certainly class. Now we consider personal qualities and no certainly class, but Renaissance is ended, certainly but humankind is present.

Alessandro Lusana   

 

Platonic Calvinism

I think that we must consider that ancient philosophy, above all Greek philosophy, is very decisive to modern theological think, and this sentence is alone limited some step, but we must consider that origin of this interpretation is very Platonic. It is enough that we consider a step of a book of Jean Calvin and we can look that this step is directly from Plato(428/427-348/347 b.Ch.); from Institutions of Christian religion we can read: “…it is evident that the man could not know himself if he don’t raise to God, and after he will go downing after to see himself”; this step is very important to heathen origin, and specify from Plato, because we must consider that Plato tells about soul of men that has had knowledge of word to Word of Ideas, where soul has a speculative vision of knowledge and after this soul will goes down to body; then God is Christian translation of Platonic Word of Ideas, then we must see always to God to know our self. Calvin continuing with other reference likewise Platonic, in fact he sais: “The man is habited to see black and darkness thing, and when he find new objects and turns his eyes other where he thinks that these are white and clear, but after he consider that these objects are mixed to blackness and darkness”; other think of Plato, because when man has seen reality and he remember that is Word of Ideas he find defects and impurities, typical  of earthy word, because it is ideal vision of a divine word that is purely health. Then Plato has inspired indirectly Calvin, because it is evident also to other step: “Knowledge of God is act inherent to human soul”, then: “…God has given a knowledge about him and he revives memory through sparks that are present sometime…” this is memory of Plato of Word of Ideas, when man remembers something and he has took it from ideal word.

Alessandro Lusana 

 

                                                 

   
 

 

Magnificence and secularism of architecture: Borromini and Guarini

Two architects that has remarked the form and no certainly the principal function of build, in fact Francesco Borromini(1599-1667) and Camillo Guarino Guarini(1624-1683) are two architects that has used and abused the geometry, they have built alone to the architecture, expressed forms that were secular because every costumer was an through to expression and built of form, that has nature and method very different from Renaissance; it isn’t rational and aseptic but life and irregular, uses the geometry and it gives life to other forms, architecture is necessary to forms that can express, every object of architecture can become other. The drawings of Guarini are a clear examples of these play of geometry(Figs.1-2) Drawings of architecture civil and ecclesiastical, is a collection and it has gathered drawings and one is very adherent to particular that I have now expressed, use of geometry that can modify same form; a tympanum can become right (Fig.1) or strange(Fig.2), because a column can be very right(Fig.1) or become very irregular(Fig.2), naturally this second form is from Bernini(Figs.3-6). An use very irregular of geometry is took from Guarini by Borromini and saint Ivo to Sapienza(Figs.7-13a), where Borromini used geometry with a freedom very marked; he conceives the freedom of forms and used same geometry of renaissance with other method; same think of Guarini(Figs.14-17). Two architects that have used forms and drama of forms with same spirit and have used architecture to forms, then different forms, then Guarini said: “The symmetries of architecture can between them be different forms".

Alessandro Lusana     

Fig.1

 

Fig.2

Fig.3

Fig.4

Fig.5

Fig.6

Fig.7

Fig.8

Fig.9

Fig.10

Fig.11

Fig.12

Fig.13

13a

Fig.14

Fig.15

Fig.16

Fig.17

 

The late Mattia Pascal and fame of history: fakes and fame that become historical reality

This assay is a complaint about a use and abuse that we have usually believed and this phenomenological custom is connatural to humankind, and it had used and described, with irony from Luigi Pirandello at his The late Mattia Pascal; protagonist of this romance is Mattia Pascal a guy that is disappeared from a city and everybody think that he is died, and he said to end of this romance: “It is very beautiful bring flowers on my tomb”; this is romance is a masterwork, because it tells truly custom that alone very few follow; this is the historical fakes and common morality, this last is principal motive to follow and they followed these historical fakes. Mattia, protagonist is life and when he is exiting from cemetery somebody asks to him: “Are Mattia Pascal?” and he answered: “The late Mattia Pascal”, because I am died in conformity of common opinion, then I am life it is very low indifferent, because important is alone common judgement, then is more common opinion is valid no, certainly, other. This phenomenon, that has showed the idiocy and opportunism of very much fake historical men, has tells fakes and untrue historical truth. Everybody has believed to these fakes more to disinterest than other. After these fake historical men other has caught these fakes and have followed it, because to begin a examination of these presumed truth is very difficult and tiring, it is more best follow the fakes than search the truth. Everybody follow this criterion is unworthy to write the history or philosophy or other. Then when you must read history you must always consider that these presumed truth is alone opinion of historical man then it isn’t you must consider that it is opinion, no certainly the truth; as common opinion has said that Mattia Pascal has died. And I want end this assay through a sentence of Pirandello: “Keep in your mind that during your life you will meet very much mask and few face”, this is you will meet very much fake men and very few sincere persons.

Alessandro Lusana  

 

Tempora currunt sed modus restat: identity of one costumer

Architecture and his costumer is always very much characteristic of one architect, and style is evident to many works, we can identify Borromini, Bernini, Michael Angel and other. We should consider that it is very rare identify a costumer through style of a built; it is very anomalous to identity of art history, because one costumer we can identify to documents or literature, this is ancient guide and other; but identify a costumer without documents and alone to style is complex; but in Sermoneta it is possible because the style is same for many centuries: we must consider that first caetanea church this is Saint Joseph(Figs.1-2) with lozenges on sides and tympanum on center, we can consider that it is style of 16^th century, this is 1525, when this church was erected from Caetani family; and opinion and judgement about style is very right because this rational stile is connate to century, but to use, after centuries, same style is very anomalous; in fact other two churches of family of Caetani were erected during 1685 or restored during  of 18^th century, these are Saint Annunciata(Figs.7-10) and Saint Mary of Fossato on year 1685(Figs.3-6). We can see same style of Saint Joseph, same lozenges and same tympanum, that isn’t to Saint Mary of Fossato, but it is on high side of façade, and intern is same unique ship(Figs.2,5-6), as Saint Joseph and Saint Annunciata. This is very meaningfull because through this style we can identify costumer and repetition of these style of costumer. It isn’t determined from preference of costumer, because style has changed, Borromini and Baroque and other styles have rose and architecture used and mixed it to façade; then it is an reference to Caetani, this style is Caetani style.  

Alessandro Lusana  

    

 Fig.1

Fig.2

Fig.3

Fig.4

Fig.5

Fig.6

Fig.7

Fig.8

Fig.9

Fig.10

 

Μέσoς: this is to tell history

In conformity to opinion of Aristotle, the μέσoς this is middle measure is perfect; certainly for a judgment, above all historical judgment; when historical man has told about pope Alexander 6^th Borgia, a pope that rose the Church And has followed habit and sin of 15^th century, with nepotism and try to rich Church, certainly a costume that today we refuse and condemn, but then very normal. Historical men, Guicciardini is a preclear example about to tell with hearsay that he has confirmed with his narration and he has condemned Alexander 6^th pope to eternal fire of hell. We can read fortunately three books about Alexander 6^th of Andrea Leonetti, that has told about this pope with a soul and spirit very defensive, and he has told the truth about very much episodes with documents and letters and other, and he has corrected very much opinions about this pontificate. This is a work very bold because author has corrected judgment and fatherhood very false, in fact Lucretia was his nephew, on a document, we can read neptis eius this is his nephew, and no certainly daughter. The simony  election is other lie because Alexander 6^th has had a uncle Cellists 3th that was pope and, evidently, conclave has wanted followed policy of this pope but through Alexander 6^th . Oreste Ferrara other Italian historical and attorney has explained other questions; the legendary simony of Alexander 6^th is suggested by gifts of his personal cloth to cardinal has voted him in conclave and other. These historical men are very important because we must consider that also Pastor, historical man of popes, has followed common opinion and he did not see documents. Then although I admire these books, I must see that to an episode Leonetti hasn’t consider documents; it is subtraction of Sermoneta and after donation to his nephew Cesare Borgia, because Leonetti has said: all lands were subtracted through armies to failed vassals, or if that are subtracted through sentence of pope, as to Sermoneta, these were granted for own of Church to equivalent price…This is false because Alexander 6^th has excommunicated Caetani family and has granted Sermoneta. Then this narration is false, and we must consider that the history we must tell with documents or hypothesis but we must keep the μέσoς, this is the truth and balance to tell; then wrong historical men that has told about Alexander 6^th we must condemn, we must  lies of defense, and we must, no should, stand on right measure and consider historical contest and documents, then truth, without emotional involved, and always consider that we are witness of past but without condition moral, economic, social that has determined these judgement, then we are witness after centuries, and we must be μέσoς, balanced to tell history.

Alessandro Lusana

 

Changed archetypes

Some model to painting to painter is always necessary, model both human and painted, this is inspiration. I want consider some painting that has certainly, in conformity my opinion, inspired one or any painting; and same model or archetype is, after, changed to other painting. Raphael(1483-1520) has suggested to Giuseppe Cesari called Cavalier d’Arpino(1568-1640), some model as cloud and layout of some figure to his Martyrdom of Saint Margaret(Fig.1), that has took from Dispute of Sacrament(Figs.2-3), and to Submission of Christ to temple(Fig.4), to arch behind is suggested for two arches of Raphael from Athens school(Fig.5) and to Annunciation(Fig.6), and again Raphael has suggested to Cesari other posture of horse to other painting(fig.7); in fact Cesari has took posture of horse from Costantino’s battle(Fig.8). To Flagellation(Fig.9), Cesari has took from Sebastiano Luciani(1485-1547), called del Piombo, same painting(Fig.10) that Cesari has seen and has changed to his think but archetype is del Piombo. Cesari has suggested something to Guide Reni(1575-1642), the Saint Michael Archangel(Fig.11) that Reni has took to his Saint Michael Archangel(Fig.12). These are models and ideas that some painter has took and rethought, and exercise is same to every centuries and artist.

Alessandro Lusana 

Fig.1

Fig.2

Fig.3

Fig.4

Fig.5

Fig.6

Fig.7

Fig.8

Fig.9

Fig.10

Fig.11

Fig.12